There aren’t words enough for the rich, specific emotions Kacey Musgraves chronicles on Golden Hour, a record every bit as joyful as its reputation suggests but by no means simple or one-note. Musgraves is a songwriter who values precision enough to work the word “chrysalis” into her song about butterflies and to execute tight U-turns within the span of a single Sly Stone pun (“you can have your space, cowboy”), yet there are multiple times on the record where she opts for multiple words when it seems like one might have sufficed. “Is there a word for the way that I’m feeling tonight?” she asks in one of the album’s many guileless, artifice-free moments, as if she’s narrating her own writing process, stitching her words together in real time. “Happy and sad at the same time” is what she comes up with, and it’s as good a descriptor as any. Elsewhere on the album, she imbues the most general of observations with the full weight of holy wonder: “These are real things,” she marvels, as if suddenly gobsmacked by the very fact of existence. There may be a more flowery version of the same idea, but probably not a better one: Generally avoiding abstraction and metaphor in favor of emotional directness, Golden Hour is a masterpiece of plainspeak, cherishing mystery without harboring ambiguity. It’s an album about being awake and alert enough to practice active, in-the-moment gratitude, and letting your guard down enough to be seduced by love, surprised by joy. “Oh what a world,” Musgraves enthuses on one song. “And then there’s you.” Maybe this is what Sam Phillips was talking about when she named an album The Indescribable Wow.
Her sense of wonder is channeled into a remarkable suite of songs that maintains perfect shape, tone, and momentum. Sumptuous and sparkling, album opener “Slow Burn” unfolds delicately, twinkling banjo notes surrounding the singer’s dawning sense of possibility; words pieced together in leisurely stream-of-consciousness, Musgraves dashes off some autobiography before her attention shifts to the world outside her (“In Tennessee, the sun’s goin’ down/ But in Beijing, they’re heading out to work”). And in just that moment, the track’s gossamer simplicity is awash with the brilliant Technicolor effects of pedal steel and keyboard, a broader mindfulness being born inside her. Dazzling color adorns the album, allowing its generally amiable mood to feel nuanced and textured: Vocoder effects in “Oh What a World” add sublime voicing to Musgraves’ earthly awe; “Space Cowboy” has cavernous beats that set it in a place of welcoming solitude; and on “Butterflies,” psychedelic flourishes create the cloud her head’s stuck in. It’s impossible to imagine these songs being any more vulnerable or affecting with a traditionalist’s Spartan arrangement, so closely are the color schemes matched to the singer’s interior monologues. The voice-and-piano sketch “Mother” feels like both a sonic and thematic outlier, yet even in its wistfulness it embodies Musgraves’ unfiltered emotional acuity as well as her musical precision. The lyrics express age-old human feelings—distance, separation, longing—as though they’re fresh revelations, and the song cuts out just at the point where it would turn into a boring area-filling ballad on anyone else’s album, leaving us with something fleeting and haunted. Its austerity throws the rest of the album’s vivid hues into context. In a time when country music “authenticity” is closely tied to analog simplicity—think of the fine, meat-and-potatoes records by the likes of Chris Stapleton and Jason Isbell, both of whom work largely in sepia shades— Musgraves makes a case for country as omnivorous and all-encompassing, ornate and fun; she’s spoken of her allegiance to the outlaw sound but also her fondness for Tame Impala, and on Golden Hour she wears country music’s ongoing dalliance with pop as a badge of honor, even as she upholds the genre’s reputation for emotional candor. The hard stuff, the fluffy stuff, yesterday’s C&W and today’s crossovers—all of it can coexist as “real” country.
In fact, Golden Hour goes down easy at least partly because of how it synthesizes many recent ideas about what country music ought to be, particularly in relation to pop. “Slow Burn” is pitched somewhere between a campfire song and Seven Swans-era Sufjan Stevens, while another banjo-led track—the sleek, propulsive “Love is a Wild Thing”—is the kind of rootsy pop that might have populated an early Taylor Swift record. The island vibe on “Lonely Weekend” cannily captures some of the beach-ready tropicalia of Kenny Chesney, but turns it on its head: Here country’s good-times Jimmy Buffet fixation is used to champion solitude, the bright production given weight and grit by the lyrics’ melancholy undercurrents. The disco thumper “High Horse” could be another throwback to the soft rock era, but only if you want to leap frog over Shania Twain to get there. And here again, a subversion: For the album’s boldest turn toward pop sounds, Musgraves sprinkles in more cowboy movie and horse references than you’ll hear in any 10 songs on today’s country charts. It’s country’s earthiness wrapped up in country’s glam.
As a songwriter, Musgraves has always had a penchant for smirk and irony, but Golden Hour marks the point where her sharp writing settles into something unguarded, the winks giving way to songs of ravishing affection. She comes by her joy honestly—these songs were inspired by her new marriage—but it’s more a matter of intention than of disposition: “I’m the kind of person who starts getting nervous/ When I’m having the time of my life,” she admits on “Happy & Sad.” Her cynicism runs deep enough that she occasionally finds contentment to be ill-fitting, but those fleeting worries go a long way toward selling her earnestness elsewhere. It also helps that Golden Hour feels like a record about real, grown-up relationships—infatuation that deepens into commitment. “Wonder Woman” sets boundaries and manages expectations; there’s a lot of things she can do for her man, but saving him ain’t one of them. “Lonely Weekend” upholds the value of solitude within a relationship, and even the songs that cast their eye outside the marriage (“Mother,” “High Horse”) make the love songs feel more authentic and complete: These are real people with identities and relationships beyond each other. They have wild edges. They are unpredictable, and they’ll both make mistakes. All the singer can do is move forward awake and alert, ready to engage joyfully in whatever she encounters. “I used to be scared of the wilderness, of the dark,” she sings. “But not anymore, no.” Of course, the world hasn’t changed—love and sadness still grow wild and free. It’s the singer who’s changed. In her golden hour, she’s ready to pay attention.